Silver pitcher-shaped vessel with handle and a band of decoration around center of the body
Subject Matter
Many silver luxury items in Colonial America were imported from Europe, but by the late 17th century American silversmiths began producing spoons, tankards, and tea services for domestic use and display, many of which emulated the aesthetics of British and Northern European design and ornament. The Tariff of 1842 imposed heavy taxes on imported goods to America, such as silver, which, along with a flourishing economy following the Civil War and an increase in the demand for elegant dining silverware, led to an increase in production. As the industry grew from local workshops to large factories, American silver manufacturers, such as Kirk & Sons and Tiffany & Company were established.
During this time the role of the designer became more important in silversmithing. The prestigious New York jewelry firm Tiffany & Co. originally founded in 1837 by Charles Louis Tiffany (whose son, Louis Comfort Tiffany, became renowned for his glasswork and jewelry) employed a succession of highly influential and skilled designers, and soon became well known for creating beautiful pieces, whose elegant and timeless designs continue to remain popular even today.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Silver pitcher-shaped vessel with handle and a band of decoration around center of the body
Subject Matter
Many silver luxury items in Colonial America were imported from Europe, but by the late 17th century American silversmiths began producing spoons, tankards, and tea services for domestic use and display, many of which emulated the aesthetics of British and Northern European design and ornament. The Tariff of 1842 imposed heavy taxes on imported goods to America, such as silver, which, along with a flourishing economy following the Civil War and an increase in the demand for elegant dining silverware, led to an increase in production. As the industry grew from local workshops to large factories, American silver manufacturers, such as Kirk & Sons and Tiffany & Company were established.
During this time the role of the designer became more important in silversmithing. The prestigious New York jewelry firm Tiffany & Co. originally founded in 1837 by Charles Louis Tiffany (whose son, Louis Comfort Tiffany, became renowned for his glasswork and jewelry) employed a succession of highly influential and skilled designers, and soon became well known for creating beautiful pieces, whose elegant and timeless designs continue to remain popular even today.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Two-handled jar-shaped silver vessel with lid and a band of decoration around center of the body
Subject Matter
Many silver luxury items in Colonial America were imported from Europe, but by the late 17th century American silversmiths began producing spoons, tankards, and tea services for domestic use and display, many of which emulated the aesthetics of British and Northern European design and ornament. The Tariff of 1842 imposed heavy taxes on imported goods to America, such as silver, which, along with a flourishing economy following the Civil War and an increase in the demand for elegant dining silverware, led to an increase in production. As the industry grew from local workshops to large factories, American silver manufacturers, such as Kirk & Sons and Tiffany & Company were established.
During this time the role of the designer became more important in silversmithing. The prestigious New York jewelry firm Tiffany & Co. originally founded in 1837 by Charles Louis Tiffany (whose son, Louis Comfort Tiffany, became renowned for his glasswork and jewelry) employed a succession of highly influential and skilled designers, and soon became well known for creating beautiful pieces, whose elegant and timeless designs continue to remain popular even today.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Silver jar-shaped vessel with flared lip and a band of decoration around center of the body
Subject Matter
Many silver luxury items in Colonial America were imported from Europe, but by the late 17th century American silversmiths began producing spoons, tankards, and tea services for domestic use and display, many of which emulated the aesthetics of British and Northern European design and ornament. The Tariff of 1842 imposed heavy taxes on imported goods to America, such as silver, which, along with a flourishing economy following the Civil War and an increase in the demand for elegant dining silverware, led to an increase in production. As the industry grew from local workshops to large factories, American silver manufacturers, such as Kirk & Sons and Tiffany & Company were established.
During this time the role of the designer became more important in silversmithing. The prestigious New York jewelry firm Tiffany & Co. originally founded in 1837 by Charles Louis Tiffany (whose son, Louis Comfort Tiffany, became renowned for his glasswork and jewelry) employed a succession of highly influential and skilled designers, and soon became well known for creating beautiful pieces, whose elegant and timeless designs continue to remain popular even today.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This slender vase has a matte glaze with accents of green, pink and purple in an overall whiteish body.
Subject Matter
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his roses fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed, with his roses. By 1905, Markham was joined in the enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
Label Copy
March 28, 2009
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his flowers fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed with, his roses. By 1905, Markham was joined in this enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This small square vase has a body with a raised pattern and a matte glaze of orange and brown colors.
Subject Matter
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his roses fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed, with his roses. By 1905, Markham was joined in the enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
Label Copy
March 28, 2009
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his flowers fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed with, his roses. By 1905, Markham was joined in this enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This pitcher has a raised design of plants that extends from the base up to the handle and spout. The matte glaze ranges from brown to peach to red.
Subject Matter
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his roses fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed, with his roses. By 1905, Markham was joined in the enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
Label Copy
March 28, 2009
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his flowers fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed with, his roses. By 1905, Markham was joined in this enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This brown vase has a raised design on the surface. The vessel has a fairly wide mouth and gently swelling shape.
Subject Matter
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his roses fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed, with his roses. By 1905, Markham was joined in the enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
Label Copy
March 28, 2009
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his flowers fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed with, his roses. By 1905, Markham was joined in this enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Wide cylindrical footless vessel with slightly bowed side, small rim and very large mouth covered with a textured matte glaze in shades of light and dark browns
Subject Matter
Ann Arbor-based Markham Pottery began when Herman C. Markham, a traveling salesman and a devoted grower of roses, found that he could not get an adequate supply of vases that kept the water cool enough to keep the blooms of his roses fresh. In the mid-1880s, he began working with the clay in his yard to create utilitarian vases whose understated beauty enhanced, rather than competed, with his roses. By 1905, Markham was joined in the enterprise by his son Kenneth. The pottery that the Markhams developed consisted of a low-fired ceramic body based on classical forms decorated with a distinctive webbing of low relief clay that is part of the mold. Usually fired with matte glazes in earthen colors and stains, the delicacy of Markham ware made their products quite popular.
In 1913, the Markhams moved their pottery to National City, California, near San Diego. There they could take advantage of workspace provided for them at the plant of the California China Products Company. The numbers of works produced by Markham Pottery was not as great as some potteries; the company ceased production in 1921.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Porcelain plate imprinted with the photographic image of a female head in pasta and marinara sauce.
Subject Matter
Muniz appropriates the head of Medusa from Caravaggio’s painting of the snake-haired Gorgon from Greek mythology, "Medusa" painted in ca. 1597. This piece is typical of Muniz’s work in which he recreates a well-known image from art history, “draws” it in an untraditional medium, such as sugar, thread, chocolate syrup, or as in this work, pasta and marinara sauce, and photographs it. However, unlike many of his other works in which the photograph is the end product, in this piece, he went one step further and transposed the photographic image on to a plate.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Groups of figures sit crowded around tables in a dark, smoky interior. In the foreground a man dressed in white hose and a red cap leans on a barrel, his tankard placed at his feet, and looks directly ahead out of the scene. To his left several men cluster around a table to drink and smoke, while other dimly lit figures sit and move about in the background.
Subject Matter
A group of peasants, consisting mostly of men, are gathered in a dark interior to smoke, drink, and converse.
Label Copy
March 28, 2009
This small view of boorish peasants gathered to drink and smoke in a dark, squalid tavern would have hung in a middle-class Dutch home and given its bourgeois owners a scene of comedic delight. In details such as the red-capped man leaning on a barrel, a tankard of cheap beer at his feet, one can almost smell the mingled rank odors of the tavern and hear the muttering voices of its lowbrow patrons. Yet the coarse character of the peasants and their surroundings reflect middle-class prejudices more than reality. Perhaps the owners of the painting were amused when looking at figures they would have regarded as uncouth, disorderly, and certainly their social and economic inferiors—country bumpkins compared to their own mercantile successes. In the contrast between the dank tavern scene and their own clean-swept, well-ordered home, owners of paintings such as this might have found a comforting affirmation of their self-ascribed superiority.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Jar with grey-green celadon glaze; top half of vessel is filled with an assortment of figures, birds, and architectural elements in a tiered arrangement.
Subject Matter
This "hunping," or funerary urn, with celadon glaze covering the body possesses an assortment of figures and architecture in a tiered arrangement. The hunping reflects the southern tradition of "burial of the summoned soul." Placed in a tomb together with armrests, banqueting tables, food, and drink, it was hoped that the soul of the deceased would return to reside in the urn, entering, in this particular case, through the gate that appears to lead directly into the vessel. The auspicious birds and figures represent mystical entities that could guide the soul to be reborn in paradise.
Label Copy
This charming pot, with its engaging depiction of musicians and flocks of birds gathered by a many-roofed structure, bears silent witness to a tragic period in Chinese history. In the early fourth century, invasions by nomadic raiders from the steppes to the west forced tens of thousands of Chinese to flee southward. Aside from the terrible toll of lives lost, the surviving exiles could not provide proper tombs for deceased family members. Instead, they sought to appease the souls of the departed by providing a resting place in ceramic containers such as this one, known as a hunping, or “jar for the soul.”
The structure on the lid presents a square building within a circular enclosure, reminiscent of an ancient Chinese formula using a jade bi and cong to symbolize the joining of earth and heaven, and thus fitting as a home for wandering souls. It is also possible that the hunping form may have been inspired by Buddhist reliquaries or containers for the ashes of the deceased; the gate (the two roofed pillars at the base of the tower) would then symbolize the boundary to Buddhist paradise. The two overlapping meanings were common during this period in Chinese history. The jar is made of grey stoneware with a coat of green glaze typical of Yue wares. The glaze is an early form of celadon that is thin, lustrous, and evenly vitreous. It is the precursor to the renowned, later translucent celadon glazes of the Song dynasty (960-1279).
(Label for UMMA Chinese Gallery Opening Rotation, March 2009)
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Stoneware oil bottle with cup-shaped mouth and body in the shape of a Go gaming piece, or Baduk. The body is decorated with painted floral sprays and covered by celadon glaze.
Subject Matter
Cosmetic oil bottle with floral sprays.
Label Copy
March 28, 2009
This small cosmetic oil bottle, with a body in the form of a Korean baduk (gaming piece), has a short neck and a cupped mouth. It once formed part of a toiletry set that included several small celadon cosmetic boxes with flat lids, which were often accompanied by items like silver needle cases, bronze mirrors, and hairpins. They nested into a larger round box or rectangular casket and became part of an upper-class woman’s personal possessions that were buried with her.
(Label for UMMA Korean Gallery Opening Rotation, March 2009)
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This is a spherical shaped glass inkwell with sterling silver overlay in intricate designs of flowers and plants. The top half of the sphere, which opens horizontally, is the lid.
Subject Matter
As with most objects of daily use, inkwells could be modest and utilitarian or more fanciful, the latter employing lavish use of precious materials to reflect and enhance the status of the possessor. Inkwells in the UMMA collections demonstrate a rich variety of materials, including silver, crystal, ceramic, and metal. Some pre-date the emergence of the fountain pen, and many mark the transition from a quill or nib pen to the convenience of the pocket pen commonly found today. Inkwells are avidly collected by those who value the artistry that went into the creation of a beautiful object for everyday life.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
